Klarinet Archive - Posting 000938.txt from 1999/09

From: "Michael Whight" <michael@-----.uk>
Subj: Re: [kl] Re: to michael
Date: Mon, 27 Sep 1999 11:22:38 -0400

> >
>
> I intend to develop a curriculum for a graduate course entitled
> Marketing for Performers. It will be geared toward preparing graduates
> for musical careers that may include a variety of personal pursuits
> outside of or in addition to traditional employment. It will acknowledge
> that not every graduate will be able to gain full-time employment right
> away and may have to seek out alternate means of gainful employment either
> temporarily or as a chosen career. Its goal will be to train music
> students to earn a living in music rather than by other means.

Sounds like a good idea!

>
> Title: Marketing For Performers
>

>
> Learn and develop strategies of psychological preparation for
> repeated job interviews and auditions

Not an easy one to teach because the best performers in my experience are
the most sensitive and vunerable to self doubt. I believe that it is
important that well defined and easily achievable goals are presented in the
artists experience so that only positive feelings are encountered. Of course
there will be a time when rejection rears it's ugly head but by then a
certain amount of resilience will have been built up.
>
> Explore different styles of music other than classical, discover
> other potential areas of interest, or other job possibilities
> Styles to include: jazz (improvisation), avante garde,
> pop,etc.
>

Very important not to become a player who can reproduce brilliantly past
performances or accepted cliche. Having said that if you can do this as well
you will get a job in a symphony orchestra.

> Learn to teach effectively in addition to playing an instrument
> well
>

I think this follows after you have learned to teach yourself.

> Become acquainted with a broad spectrum of literature relating to
> psychology and pedagogy of music
>

Sure- everyone should be interested in something that may help but students
should be selective in what they take on board. There are an awful lot of
people with their own agendas out there.

> Investigate alternate areas of musical study or music-related
> employment, such as library work, theoretical work, musicology, arts
> administration,
> music therapy and instrument repair

Can't do any harm but one must not lose focus on what is the primary goal.
>
> Evolve mentally from a student to a professional, becoming
> more independent and able to teach oneself

Music analysis is essential for this. Schenker Reti Meyer Rosen etc.
>
> After Graduation- Entering the Job Market
>
> How to advertise oneself or ones group
>
> Developing a free-lance career
>
> Forming/finding/funding a chamber music group
>
> Becoming a part-time soloist/recitalist
>
> Making/marketing recordings
>
> Specializing or becoming proficient in auxiliary instruments
> (e.g., English horn, bass clarinet)
> Choosing a geographic location that suits ones skills and tastes
>
> Seeking opportunities for advanced study with a specific mentor
>
> Maintaining a positive self-image in the face of rejection

All these things are a matter of common sense and determination. It is
important for musicians to realise that when they get into the real world no
one really gives a damn how they play. Agents are interested in how much
money you can make them. So if you want to become a soloist you have to get
enough exposure to guarantee many concerts. An agent will then take you on
board because you will make him immediate money and he will further your
career to increase profits. If you don't have well paid gigs to offer you
could be a genious and be totally unknown.

Other ways of organising your career.

Get into an area that will make you bags of cash. Computers, property
development etc. Use the money to fund CDs and concerts and kick start your
career. Get an agent and hey presto you are on the right ladder. Believe me
the world is full of people who buy their careers. Neville Marriner, totally
incompetant rich guy who hires the best musicians and then has an epileptic
fit in front of them -and there are plenty others. This is not meant to
sound cynical - it really happens.
>
>
Along side this it is important to keep a sense of integrity so that when
you perform it's good stuff. But what is the point of being a really good
artist if you are not heard in the right places?

Michael
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